Secession has, as a cultural and art phenomenon that was created and developed at the turn of 19th to 20th century, in reviews of many critics during the first half of the 20th century, been assessed at two extremes; ranging from a determined non-acceptance to full recognition of its artistic value. The key term for understanding seccession art is certainly syncretism. Joining versatile, or even contradictory style elements did not lead to eclecticism; on the contrary, the secession movement, whether it was called jugendstil, modern art, art nouveau or something else, is one of reconcling differing styles of European and American cultures. The development of Croatian secession needs to be observed and evaluated within the frames of the European cultural, political and economical atmospheres. Considering that Croatia, with all its political, economical, cultural and social particularities and specialities, has belonged to the circle of European countries, it was undouubtedly affected by the unavoidable process of metamorphosis of the entire society. The appearance of the poster within graphic design as a new visual media of mass communication is a typical phenomenon of urban culture by which art „goes out on the street“, and the information about it „is being sold and consumed as any other merchandise, becoming an expression and reflection of economical, social and cultural life“. The Croatian secession poster, its appearence and development, needs to be observed, understood and interpreted within European context and European events. Thanks to development of graphic techniques (especially lithography) the poster inspired by new art ideas, reaches its full swing and affirmation on the turn of 19th to 20th century in the period of secession. The development of Croatian printing is certainly an unavoidable factor in the process of poster realisation, but also the moderator of its final effectiveness in terms of development and presentation of the poster as an important media of visual communication. Secession was a new spiritual and artistic orientation contrary to the one that existed; it marked a departure from traditional artistic comprehension. Whith its new refined aesthetic of permeation into the poetic and decorative, styled and imaginative, it has precisely, within poster art, found endless possibilities for expression, the proof of which are the foremost creations of our distinguished secessionists B. Chikos Sessia, R. Auer, T. Krizman, Lj. Babić, R. Tommaseo, M. Rački, J. Kljaković, F. B. Angeli Radovani, etc… The poster ceases to be solely an unattractive typographic display of information, and becomes an artistic from with it's own structure and laws, using art to depict a way of life.